Initially, it is the journey, or the loitering, which allows me to enjoy a form of naivety. This, then, enables me to capture a distinct reality and to increase the acuteness of my eye. I try to use this perceptive state as soon as I go out to take pictures. It is an intuitive process in which I aim to capture an aesthetic emotion, one that attracts me regardless of whether or not it is beautiful, mysterious or ugly.

Mutations in small and large scales generated by globalization and standardization interest me because they go beyond us, but concern us. Without addressing them directly, these issues fuel my reflections. This leads me to try to identify the symbols of a crippled urbanism.

My project is built around a dialectic between the rational and the sensitive. Primitive nature, even sacred, in the pagan sense of the term, inspires me. Without trying to celebrate it, I try to make pictures where this primitive nature appears beautiful or threatening because of its elusiveness. I try to explore the limits of our perception of reality through vegetable and mineral matter.

What are your influences?

I like different things in art and music, but above all, photographers influence me. The founders of a modern vision and conceptual photography, such as Lewis Baltz, Stephen Shore, Daido Moriyama, August Sanders, for example. There is also the German school of Becher, Thomas Struth and Thomas Ruff with their neutral appearance which is powerful. Last but not least, Raymond Depardon, Alec Soth, Rineke Dijkstra, Paul Graham or Charles Freger, are contemporary photographers that inspire me. I have also discovered many emerging photographers through websites like yours. It’s very exciting. I sometimes refer to the “oblique strategies” of Brain Eno to expand my ideas.

Why did you choose these photos?

I chose these photos because they represent each of the themes that I explore.

What does photography mean to you?

Photography is a possession, a distortion of time and, sometimes, a strict emotion.